I don't want my footage imported with LUTs

[Danny Luksa]

We need a way to disable the automatic LUT that is applied every time I ingest footage from an Arri Alexa/Amira/Alexa Mini. Stripping the lut from these clips every time they're imported is very tiresome.

[jamieclarke]

Hi @Danny Luksa - If you are working on version 25 of Premiere Pro then you can navigate to the Lumetri Panel and open the settings tab, then under Project there is a checkbox labeled "Auto Detect Log Video Color Space" you can check that off then the media you import will be interpreted as Rec709.  This setting is also available in the Project Settings under Color

[Danny Luksa]

Hey @jamieclarke... thank you for the response, unfortunately this does not solve the issue. The embedded AMIRA LUT is still present on every single video file from our Arri Amira or Alexa Mini cameras, and still requires manual stripping through the modify clip panel.

[jamieclarke]

Hi @Danny Luksa - There is not a preference to remove the embedded lut, the only way is to select the dropdown menu and choose "None"

[Danny Luksa]

Thank you @jamieclarke. Will there ever be an option? It seems like such a simple thing that would save me tons of time. We work with hundreds to thousands of Amira clips on any given project and the auto-LUT creates problems throughout the process.

Thanks

[R Neil Haugen]

Have you tried checking the "Preserve RGB (disable Input LUT)" option?

And I believe that is 'sticky' ... at least it has been on my PC.

[R Neil Haugen]

I don't know why people assume LUTs are being used for this. I mean, in 2019, yea woulda been a LUT.

But folks, those limited things are ancient tech. They use an actual mathematical process now for transform work, vastly more capable than some idiotic look up table. That's just a text chart, this pixel triplet goes here. No math involved.

And unless your field produced media was shot using the exact same scene contrast and exposure as used in creating the LUT, you have to be able to trim the clip prior to the LUT or risk clipped or crushed data.

So IF you are setting up the new color management to actually manage your log media in Premiere, the input transform is via algorithms designed for that camera’s media.

And will not clip or crush values.

And simply by setting the working space to a wide gamut option, you can work with any source clips in sequences set to either HDR or SDR for display and output use.

For most users, that is a far better start than any input LUT, including from the camera maker.

For some advanced professional workflows involving pass-through to the colorists, it is useful to turn off all Premiere CM. With one control, that says do not manage.

[Danny Luksa]

Hi @R Neil Haugen. While I appreciate the condescending tangent, I am very much talking about a LUT as labeled in Premiere Pro 2025.

Admittedly I don't know much about Premiere's color management tools — I don't really care about them. I edit everything as it was shot, in log. Colorist will make it look pretty.

Just looking to make one step of my editing process more efficient, instead of stripping the LUT (yes, the LUT from 2019) from the Modify Clip panel.

[R Neil Haugen]

Danny, you have a higher end situation than the vast majority of users 'here'. My response was based on the 'normal' user's needs. 

And yes, you have specific and proper needs. The new head of color for Adobe's pro video tools is noted colorist/author/provacateur Alexis Van Hurkman. And he's been able to get something I despaired of really getting done in Premiere "soon-ish", in a massive and needed rebuild of the underlying color processes.

I give him great credit for getting those changes both approved from "above", and done by his staff. 

That said, yes, there are several things that do need changing still. And working with the high-end Arri files is one area that seems to need improvement.

Alexis has several posts on the public beta forum on color. I heartily suggest going over to that forum, and posting to him. He does respond there. 

And all posts on the public beta forum are read by the devs staffers of the variuos teams.

[Simon_Du]

Hi Neil,  you are right that the conversion from LogC4 into a target color space is pure math and can be described by using matrices and formulas, but the initial idea behind the AMIRA LUT was the ARRI Look File. Today there are two versions. ARRI Look File 2 and ARRI Look File 4. Both were designed for transporting the creative decisions from set to Post-Prod. e.g. Editing. 

Which means, if someone is doing Livegrading on-set and for example adjusts the image by using a creative modification as a 3D-LUT or CDL values this automatically travels in the mentioned ARRI Look Files in each file header. 

In other words, the creative decision from Set is being transported automatically to post and can be activated or deactivated in editing tools, provided the function is implemented correctly in the corresponding software/tool. 

More information about our ARRI Look Files is available here:

https://www.arri.com/en/learn-help/learn-help-camera-system/image-science/look-files

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Simon

 

[R Neil Haugen]

Simon,

Thanks for the post. Very solid and applicable information.

And as I just noted to Danny, the higher-end workflows using the Arri look process is something a bit above most user's posting here. So my earlier comments are more meant for 'normal' users. 

Arri's designed processes are fascinating, and do allow for a very highly coordinated visual process, well above most other camera's capabilities. I love studying them, even though I don't get to work with those files much. Truly intriguing. Thoughtful design for their users.

And as I noted to Danny, the devs do read all posts on the Premiere Pro Public Beta forum.

They look at the "bug" section here, but everything in the public beta forum is read. Past that, the most crucial thing for your needs, and like Danny, other Arri users, is that Alexis Van Hurkman ... head of Adobe pro video color now ... posts and participates on that forum.

Alexis has somehow gotten approval for and staffers to build an entirely new color processing system, UI, everything ... in Pr2025. I'm rather amazed how far he got so fast. Stunning, in the corporate system.

And he is the person you do want to communicate with. Dev Eric Escobar would be another. So go to that forum, and pop in on posts by Alexis and Eric. And ... let's hope both clarifiction of what's possible now, and a better process to come ... are found.

[Simon_Du]

Hi Neil,  we met Alexis already. Thanks 🙂